Posted in Whathaveyou on January 28th, 2015 by H.P. Taskmaster
Two more adds to Eye of the Stoned Goat 5 this afternoon, and they expand the festival’s reach just about as far as it can go and still be in the continental US. The fest, which is set for June 12 and 13 in Amityville, Long Island, has just announced that Seattle’s Wounded Giant will make their first appearance and that Connecticut’s Curse the Son will return for their second time to the Eye of the Stoned Goat‘s migratory stage after taking part in Eye of the Stoned Goat 4 last May in Worcester, Massachusetts (review here).
What the bands have in common — besides riffs — is an allegiance with New Jersey-based STB Records. The label oversaw a long-awaited vinyl issue of Curse the Son‘s spectacularly stoned 2012 outing, Psychache (review here), last year, and a second pressing is already in the works for Wounded Giant‘s newly-released-and-gone split with Goya (review here) through STB, which as ever is giving the heavy due treatment in an assortment of limited pressings and special editions.
Wounded Giant will so far be traveling the farthest to attend Eye of the Stoned Goat 5, the lineup of which also features East Coast acts like Lord Fowl, White Dynomite, John Wilkes Booth, Weed is Weed, Gozu, Kingsnake and It’s Not Night: It’s Space, but I wouldn’t be surprised if fest organizer Brendan Burns has a couple tricks up his sleeve still to come for the two-day event. We’ll see what comes, I guess.
Announcements came through thusly:
You people ready for some more heavy hitters..?
Of course you are…
It’s a honor to have with us on this years fest, the blistering monstrous sounds of Seattle Washington’s very own Wounded Giant!!! Also on board for their second ‘Stoned Goat is Connecticut’s own, and STB Records stalwarts Curse the Son!!!
Posted in Features on January 21st, 2015 by H.P. Taskmaster
This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.
I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.
Thank you in advance for reading.
1. Acid King, Middle of Nowhere, Center of Everywhere
If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.
2. All Them Witches, TBA
The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.
3. Anthroprophh, U.F.O.
Guitarist/vocalist PaulAllen, formerlyof TheHeads,teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal Fuzz, Allen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.
4. Arenna, TBA
Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.
5. The Atomic Bitchwax, Gravitron
New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet – will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.
6. Black Cobra, TBA
Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.
7. Black Rainbows, Hawkdope
There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.
8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave French, Brothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.
9. Chiefs, Tomorrow’s Over
With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.
10. Clutch, TBA
Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.
11. Conan, TBA
I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich Lewis. Davis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.
12. Colour Haze, To the Highest Gods We Know
Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.
13. Corrections House, TBA
Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.
14. Corsair, One Eyed Horse
Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.
15. Crypt Sermon, Out of the Garden
Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.
16. Ecstatic Vision, TBA
Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.
17. Elder, Lore
What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder – the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto – do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of Lore. Elder on Thee Facebooks, Armageddon Shop, Stickman Records.
18. Enslaved, In Times
I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.
19. Eye, TBA
They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.
20. Freedom Hawk, TBA
After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.
21. Glowsun, Glowsun
In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.
22. Goatsnake, TBA
Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.
23. Gozu, TBA
Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small Stone, The Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike Hubbard. Grotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in Grotto, Hubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.
24. High on Fire, TBA
I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.
25. Hollow Leg, TBA
My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.
26. Horsehunter, Caged in Flesh
Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.
27. Kind, TBA
I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black Pyramid, Blackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.
28. Kings Destroy, Kings Destroy
So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.
29. Lamprey, TBA
The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.
30. Lord Dying, Poisoned Altars
The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse Records, Poisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.
31. Magic Circle, TBA
Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.
32. The Midnight Ghost Train, Cold was the Ground
Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.
33. Minsk, TBA
A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.
34. Mondo Drag, Mondo Drag
This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.
35. Monolord, Vaenir
Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.
36. Neurosis, TBA
Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.
37. Pentagram, TBA
I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean Saley, Pentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.
38. Ruby the Hatchet, Valley of the Snake
A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.
39. Saturnalia Temple, To the Other
The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist Peter. Saturnalia Temple on Thee Facebooks, The Ajna Offensive.
40. Six Organs of Admittance, Hexadic
I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City – seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.
41. Snail, Feral
Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.
42. Sourvein, Aquatic Fanatic
At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.
43. Spidergawd, II
Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.
44. Stoned Jesus, The Harvest
Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1. Stoned Jesus on Thee Facebooks, on Bandcamp.
45. Torche, Restarter
I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.
46. Ufomammut, Ecate
Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.
47. Valkyrie, TBA
During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions – both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.
48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix
Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (Elder, Earthless, Wo Fat, Gozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.
49. Wino & Conny Ochs, Freedom Conspiracy
When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny Ochs, Freedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.
50. Wizard Eye, TBA
Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.
51. Wretch, TBA
Listed as the “bastard spawn” of The Gates of Slumber, Wretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before Simon, Clark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.
52. Zun, TBA
Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.
Going Into Overload…
So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.
Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:
53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.
54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.
55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.
56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.
57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.
58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.
59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.
60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.
61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.
62. Egypt, Endless Flight – North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”
63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.
64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.
65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.
66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.
67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.
68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.
69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.
70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.
71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.
72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.
73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.
74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.
75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.
76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.
77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.
78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.
79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.
80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.
81. Pombagira, Flesh Throne Press– Their sixth album and Svart debut is due on March 23 as per this week’s announcement.
82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.
83. Royal Thunder, Crooked Doors– The Atlanta outfit’s second album for Relapse is due out April 7.
84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.
85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.
86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.
87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…
88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.
89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”
90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.
91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.
92. Wo Fat, Live Juju at Freak Valley– Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.
Others to Keep an Eye On…
Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.
Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.
Murmurings abound also for new ones from Graveyard, Greenleaf, The Sword, Vhöl and others.
Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.
If you don’t have enough to go by yet, labels like Sulatron, Tee Pee, El Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.
Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.
No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.
Posted in Whathaveyou on January 2nd, 2015 by H.P. Taskmaster
It was a pretty right on 2014 for Connecticut three-piece Curse the Son, who saw a vinyl issue of their 2012 full-length, Psychache (review here) through New Jersey’s STB Records. I was fortunate enough to catch them at The Eye of the Stoned Goat 4 and they suitably killed it, so it’s something of a surprise to hear guitarist/vocalist Ron Vanacore and drummer Michael Petrucci parting ways with bass player Richard “Cheech” Weeden.
The band elucidates the situation below — no bad feelings and such — and announces their bringing on board Brendan Keefe to fill the low end role. In addition, they also note they’ve started writing for the follow-up to Psychache, which will be their third album overall, and hope to have a new release ready to go for this summer.
More on that to come, I’m sure. Till then:
It is with deep regret that Curse the Son and Richard “Cheech” Weeden have agreed to part ways. This is a completely AMICABLE split. Cheech has decided to move on to bigger and brighter adventures in his life, but he will always be a close friend. Ron and Cheech started playing together in 1985 and have been in 7 different bands together over that time! We wish Cheech nothing but the best.
Brendan Keefe has taken over the bass duties for Curse the Son. Brendan is an old friend and a monster player, whose abilities will most certainly push the bands music to even greater heights. We would like you all to welcome Brendan to the family and send Cheech your well wishes.
The recording for the new record will begin in a few months and we hope to release it by July. We have been very busy writing the new songs and can’t wait to share them with all of you. Thanks to you all for your continued support. Happy 2015!
Ron Vanacore – Guitars & Vocals Michael Petrucci – Drums Brendan Keefe – Bass
Posted in On Wax on August 14th, 2014 by H.P. Taskmaster
Nearly two years on from its initial self-issued CD version, Curse the Son‘s Psychache has gotten the release it deserves. In the capable hands of STB Records, the Connecticut trio’s Psychache (review here) has been pressed in three separate editions — a standard of 125 copies in gatefold with tri-color vinyl, an OBI strip edition limited to 100 with clear/black vinyl and a blood red splatter, a die hard edition limited to 75 with both the bone-grey and clear/black vinyl and the splatter, and a test press version — and as ever for the NJ-based imprint, the focus seems to be on reverence. Reverence for the music, for the form and, in this case, for an album that feels a long time in arriving.
From the opening riffs of “Goodbye Henry Anslinger,” Curse the Son‘s weedian roll finds a stylistic match in many other acts in all but quality. Guitarist/vocalist Ron Vanacore leads the charge with molasses tone — my stereo system never seems to have enough low end; Psychacheis cavernous and warrants all it can get — and bassist Richard “Cheech” Weeden and drummer Mike Petrucci (now also of Lord Fowl) enact a stonerly nod that remains one of the best the last couple years have seen. As a reissue, I’m glad to have the chance to experience the album again, but as the first vinyl pressing, I also feel like I’m finally hearing Psychachethe way the band intended, with the side split coming after the title-track and before the interlude “Valium For?,” creating a side A comprised of massive, catchy hooks in “Goodbye Henry Anslinger,” “Spider Stole the Weed” and “Psychache” and a side B that immediately delves further into the lysergic with “Valium For?” before slipping into the slower “Somatizator” and closing out with “The Negative Ion,” which opens ambient and then explodes into a thunderously plodding finish, Vanacore‘s voice a Sabbathian echo over the doomly churning.
At Stoner Hands of Doom XII in Sept. 2012 (review here), Vanacore handed me a CD in a plastic clamshell case of the mastered version of Psychache. I remember putting it on that night on my way back to where I was staying in Connecticut, and I’ve done the same many late nights since. Also afternoons, and pretty much whenever. This is an album I’ve lived with for two years, and aside from being gratified to see it get its due, I’m glad to have a new form in which to experience it. It’s one thing to know a record has two halves and another to actually have to get up and flip it over. That changes the personality of the listening experience, and after putting Psychacheon so many times either with that CD or the digital version — they’ve intermittently made it available as a free download on Bandcamp — it’s somewhat jarring to have the raucous end of the title-track not give way immediately to “Valium For?,” but it works. The languid shuffle of “Spider Stole the Weed” finds a counterpoint in the more severe declension of “Somatizator,” and “Goodbye Henry Anslinger” and “The Negative Ion” feel even more complementary as the bookends between which the course of the release takes place, the righteous stomp of the closer coming across that much sweeter with the needle returning afterwards, as if there’s nothing more to say.
For some who picked up or who will pick it up, the vinyl version is their first experience of Psychache, and that seems like an advantage, since clearly this is how Curse the Son have wanted it to be heard all along. From my perspective, I’ll say that there aren’t a lot of records that, two years later, I’m still going to have such appreciation for seeing them show up again — opening the gatefold and seeing the live shot of the band, it looks like a classic — but Psychachewas something special that first night I put it on and it remains something special now. My only hope is that, with this out, Vanacore, Weeden and Petrucci can get to work on their third album and be able to capitalize on what can only be considered the unmitigated success of Psychache. They remain an underrated band, but obviously the word is spreading, and if you’re fortunate enough to get a copy of the STB vinyl before it’s completely sold out, you’re likely to find it an endeavor worth revisiting.
Curse the Son, “Spider Stole the Weed” official video
Posted in Reviews on May 6th, 2014 by H.P. Taskmaster
You learn the same lessons over and over at a festival. Being ibuprofen. Hydrate. If you’re going to be somewhere all day, know the spots to stand, to lean, to sit if you’re lucky, and if you want to sit early, do it for an investment in standing later. No one wants to bum out while the headliner’s on and the days are long. You do these things because it’s what you love to do. You’re not young anymore, you get tired. Your head aches. Your back aches. You smell. You’re in people’s way when you stand up front. Minimize that if you can. Be mobile. Enjoy yourself. This is where life gets good, after all.
There are cavernous potholes in the unpaved parking lot of Ralph’s Rock Diner. I kicked up dust even at crawling speed to park for Day Two of the Eye of the Stoned Goat 4, making sure I was plenty early to catch Skrogg lead off a day that also included Geezer, Foghound, Clamfight, Rozamov, Ichabod, Volume IV, Curse the Son, The Scimitar and Order of the Owl. Had enough time to sit at the counter in the dining car, watch a little bit of the original Star Trek on the tv there and have a cup of coffee, which I was warned against ordering from one of the guys who wasn’t working that day for fear of being yelled at. I’d have to laugh at someone getting pissed at a patron ordering coffee in what claims to be a diner, but I’m glad to have avoided the issue altogether. Two bucks and about 15 minutes later and I was back upstairs and dug in for the start of the show.
A Sunday vibe is different from a Saturday vibe. You know this. Plague of hangovers, plus Monday’s looming threat of the return to real life — these things bleed in, even if subconsciously. Eye of the Stoned Goat came prepared for such an eventuality:
New Hampshire heavy-toned rockers Skrogg were a hair-of-the-dog start to Day Two and they knew it. The ink is barely dry on their later-2013 outing, Blooze (review here), but they’ve got a follow-up in the works called Done a Bad, Bad Thingand they aired the single “Wheels, Women and Whiskey” from that, as well as a slower, wah-loaded jam that would provide the prevailing impression of their set in laid back, weeded-out evil-woman boozer blues grit. If I hadn’t actually heard guitarist/vocalist Jeff Maxfield speak in the same voice with which he sings, I’d likely swear up and down his “whiskey-soaked” vocals were an affectation, but no, that’s how he sounds, and with the chemistry between him, bassist Jason Lawrence and drummer Felix Starr – who traded out the house kit in favor of his own, much larger set — what struck me most about Skrogg was how well they jammed. Last time I saw them, at Stoner Hands of Doom XII in 2012, they didn’t come across nearly as comfortable on stage. They were supporting their Raw Heatdemo/EP (review here) then, so obviously the intervening two years haven’t been misspent on their part. I wondered what they’d do with more time to maybe elongate their songs and really stretch out and improvise. In hindsight, Bloozehad some of that going in “Born to Blooze.” Hopefully they keep developing that side with their new one.
If Skrogg were the first shot of the day, Geezer were a fitting chaser. The New York trio were jamming before they even started. Their soundcheck was a jam, and a good one. They opened with “Ghost Rider Solar Plexus,” and between that and “Ancient Song,” also from the 2013 Gage EP (review here) which has a vinyl issue impending on STB Records, they offered a support lesson in the importance of chemistry for a three-piece to work. Guitarist/vocalist Pat Harrington gets a lot of the attention in the band, between his Electric Beard of Doom podcast, gravelly voice and accompanying facial hair, but bassist Freddy Villano and drummer Chris Turco carried the psych-blues jams on which Harrington spaced out, and it was a classic dynamic made that much stronger by how well particularly Harrington and Villano know each other on stage, having played together for some time in Gaggle of Cocks in addition to developing Geezer‘s bluesier take over the last couple years. One of just two acts alongside Lord Fowl to carry over from 2013’s Eye of the Stoned Goat 3 in Brooklyn, Geezer rounded out with “Pony” from 2013’s Electrically Recorded Handmade Heavy Bluesdebut full-length and drew the early crowd in like moths to a lightbulb with the song’s quirky stoner bounce and nod-ready groove. Easy to dig these guys, and they’ve only gotten better the couple times I’ve seen them. If ESG needed a house band, they’d be a good bet.
The second appearance in two days for Sixty Watt Shaman drummer Chuck Dukehart III, Foghound were a much different band. I don’t know if they planned their set to highlight the fact that all four members — Dukehart, guitarists Dee Settar and Bob Sipes, bassist Geoffrey Freeman IV – also contribute vocals, but it worked out that way and it was a major distinguishing factor not only between Foghound and Sixty Watt — who of course had a completely different presence anyway with one guitar and a standalone frontman who only sometimes added guitar — but between Foghound and the vast majority of the Eye of the Stoned Goat 4 bill. And not only did everyone sing, but they all could. Foghound‘s late-2013 Quick, Dirty and Highdebut CD (review here) boasted the same elements, but of course it’s different seeing it play out on stage. Underlying that was a swing that was among the weekend’s finest as Foghound pulled more toward the heavy rock end from Day Two’s bluesy beginning, the standout “Resurrect the Throwaways” from the album reminding of Foghound‘s potential to land a hook when they need to and the new song “Truth Revealed” finding Dukehart taking the lead vocal on drums for yet another driving groove. They seem to be getting their approach together quickly, and as impressive as they already were, I wouldn’t be surprised to find Foghound even more solidified when next I’m fortunate enough to see them play.
Like the marauding bastards they are, Clamfight rolled into Ralph’s, set up, destroyed the place, and were gone. I’m obviously biased as regards the double-guitar foursome split between Jersey and Philly, but if the day had a quota of thrash, Clamfight met it head on and then some, kicking out “Sand Riders,” “Age of Reptiles” and staple closer “Stealing the Ghost Horse” from 2013’s Maple Forum release, I vs. the Glacier in addition to “Block Ship” and a new song called “Selkie” (or was that “Selfie?”) that will reportedly be on their next album. Perhaps the highlight of their whole set was watching lead guitarist Sean McKee shred his was through solos in the intro to “Stealing the Ghost Horse,” but there’s some stiff competition in that regard. I’ve been watching Clamfight play for the better part of eight years now and they have never been so good. I mean it. They’ve become an absolutely devastating live act, and their brutal groove has become a signature that’s their own much more than derived from any influence. Between McKee and Joel Harris‘ guitars, Louis Koble‘s bass and Andy Martin thud ‘n’ roar on drums and vocals, Clamfight barely stopped to let Eye of the Stoned Goat 4 catch its breath before their next round of pummeling began. Unreasonably heavy — and immediate. Barely half an hour off I-95, they locked into “Sand Riders” and didn’t look back. I can’t wait to hear their new stuff recorded.
Five bands in, it was pretty easy to see fest-organizer Brendan Burns‘ logic in how Day Two of Eye of the Stoned Goat 4 was going to flow, from the blues-styled start to more rock-minded push and into heavier, more thrashing terrain. In that regard, Boston’s Rozamov would take the evening to its most bludgeoning, darkest place. The trio of guitarist/vocalist Matt Iacovelli, bassist/vocalist Tom Corino and drummer Will Hendrix — who also earned my vote for best shirt of the weekend with his Maggot Brain tee — have some riff-minded aspects to what they do, but on the whole, their sound is much more rooted in the extreme. They were a step further into the abyss after Clamfight, impressively tight as a trio after scaling down from a four-piece since I saw them last fall (review here). Likewise, they seemed to have a fair amount of new material in tow, but “Famine” from last year’s Of Gods and FleshEP was insistent and violent in kind, and no matter where the songs took them, Rozamov remained in control of their course, alternately blasting and bleeding out thickened and ferocious thrashing grooves, Iacovelli and Corino coming together periodically for dual screams that only added to the extremity at hand. I don’t know what their plans are for putting their new stuff together and getting it out, but they carried the songs across with such urgency that I had to stop and remind myself of how far the day had come since its start still just a short time before.
Mean, volatile and given to fits of utter sonic cruelty, Ichabod were nonetheless a pullback toward heavy rock from Rozamov‘s assault. Also native to Boston, the double-guitar five-piece were the band on the Stoned Goat bill I’d seen most recently, back in in late-March in Allston, but of course the setting and compulsion toward a half-hour set between Rozamov and Volume IV – not to mention the sound and lighting at Ralph’s, which, again, are among the finest I’ve found since moving to Massachusetts– gave this go a different context. Vocalist John Fadden, guitarists Dave Iverson and Jason Adam, bassist Greg Dellaria and drummer Phil MacKay have reportedly finished work on the follow-up to 2012’s Dreamscapes from Dead Space, titled Merrimack, and as last time, some new material was showed off prior to Dreamscapes cuts like “Baba Yaga” — introduced as a “stoner rock song” — and “Hollow God,” which seems to take a similar angst-fueled approach to Boston’s Irish Catholicism that a lot of Southeast heavy takes to the Southern Baptist Church, Fadden‘s screams proving particularly visceral on the lines “Your god is irrelevant,” driving home a passionate if somewhat familiar argument, reminding of just how devastated the cultural landscape of this region has been by corruption in its religious institutions. That’s the kind of thing one might think of seeing the band twice in little more than a month, but the bulk of the room seemed more consumed with the general nastiness in Ichabod‘s sound. Justifiably so.
Building on the more rock side of Ichabod‘s sound, Atlanta natives Volume IV steered the fest back toward crisp, pro-grade heavy. A somewhat odd pairing in all but geography, they arrived at the Eye of the Stoned Goat 4 on tour with Order of the Owl having played in New York the night before, supporting their Ripple Music debut, Long in the Tooth (review/stream here). A solid, cohesive trio, and particularly interesting to watch after Sixty Watt Shaman in giving a modern look at how similar influences have developed in the time since the Day One headliners’ first run. Their being from Atlanta, it was tempting to try and read some measure of Mastodon influence into Volume IV‘s approach, but apart from some eye-squinting on the part of guitarist Joe Carpenter while he delivered his vocals, there was next to nothing in common. Both bands use guitars, if you want to reach that far. Songs were straightforward in their structure and well executed, and whether it was the chug of “Awake the Dreamer” or the ZZ Top-style motoring of “Locust Have No King,” they made a more effective presentation than I had expected. Set closer “Iron Fist” would be the first of two Motörhead covers for the evening, and Volume IV – Carpenter, bassist/vocalist Blake Parris and drummer Troy King — took one of classic metal’s most recognizable hooks and made it their own much the same way they added an individual sense to Southern heavy in the material from Long in the Tooth. I was into the record well enough, but they were better live without question.
Curse the Son
In a word: Tone. Playing in front of two full-stacks topped with custom heads from Dunwich Amplifiers that glowed from inside through a clear front with the word “weed” etched on it, guitarist/vocalist Ron Vanacore of Hamden, Connecticut, trio Curse the Son had thickest guitar sound of the entire two-day festival. Order of the Owl would outdo them for volume, but in terms of the sheer viscosity of their sound — which, as Vanacore joked in reference to his amps, was “brought to you by the power of weed” — Curse the Son was an overdose of righteously engrossing fuzz. Bassist Richard “Cheech” Weeden made the sound even fatter, and with Mike Petrucci (also of Vestal Claret) bringing subtle touches of complexity to the drums, cuts like “Goodbye Henry Anslinger” and the particularly catchy “Spider Stole the Weed” were rolling-groove high points of the day, the “whoa”s in the chorus of the latter seeming to come in layers even though Vanacore was the only one with a mic. Their 2012 full-length, Psychache(review here) is set to come out on STB Records vinyl any day now, and while it was “Pulsotar Bringer” from 2011’s Klonopain(review here) that closed out the set, the nod was constant throughout the room in Ralph’s as Curse the Son built successive walls of distortion. They’re a pretty well-kept secret at this point, though with that LP version of Psychachecoming, I can’t help but wonder how much longer that will be the case. Tetrahydrocannabinolic riff worship of the highest order, and since the last time I saw the band play on all their own gear was 2011, it seems I’m about due for a trip to New Haven.
No doubt Boston will miss Gein‘s gallop. The bassist’s technique has been a key element in Black Pyramid‘s warmongering, in Second Grave‘s explorations of the melancholic and in The Scimitar‘s still-nascent branching off from Black Pyramid‘s roots, but Eye of the Stoned Goat 4 Day Two brought the second and final of his last shows. Guitarist/vocalist Darryl Shepard, who has said he’ll continue to make music in this vein under his own name after the release of The Scimitar‘s debut and likely only full-length, Doomsayer, noted it as The Scimitar‘s last gig with Gein “for a while,” and it’s true you never know what’ll happen, but Los Angeles is a long way from Ralph’s Rock Diner, so yeah, a while indeed. I noted that drummer Brian Banfield cut his hair since the last time I saw The Scimitar, which at least meant we didn’t look so much alike, but more of a focal point was how well The Scimitar carried across the songs from Doomsayer, “World Unreal,” “Babylon” and even the night’s second Motörhead cover, “Metropolis,” leading to the longer album-closer “Crucifer,” which seemed like it was going to be their last song until they added “Forever and Ever and Ever.” The show was running early, and they started early as well, so there was plenty of time to spare, and that hook was worth including one way or another, Gein as ever reliably riding a foundational groove in the low end. He’ll make a good SoCal surfer. There wasn’t any grand farewell or anything like that when The Scimitar were done — he has always had a calm, collected stage presence — but it was still no doubt an emotional set for the bassist, who again, will be missed around these parts.
Order of the Owl
Imagine volume as a weapon. You knew some serious noise was about to be doled out when Atlanta’s Order of the Owl loaded no fewer than six Orange cabinets onto the stage, but I don’t think even the actual sight of such things prepared the room at Ralph’s for what was coming. To see that many dollars’ worth of amps in a single band, you know the parties involved have made a life choice. There had been a few instances throughout the day when I could feel my earplugs vibrate in my head — during Clamfight, during Curse the Son – but Order of the Owl went further and just rendered them useless from the start. Feedback proved no less essential to the sound than the trio’s riffs and lumbering grooves, but basically, Order of the Owl came through as a wash of noise. Bassist/vocalist Brent Anderson, formerly of Zoroaster, brought some of his ethic (not to mention his posture as he bent way over to the low microphone) from that band to this one, but with guitarist Casey Yarbrough and drummer Joe Sweat, Order of the Owl had a personality of their own carved from the massive tones emanating from that impressive backline. To Sweat‘s credit, the drums cut through, which Anderson‘s vocals didn’t — even a place with decent sound like Ralph’s can only put so much power into the P.A. before the lights shut off — and even in the back of the room was consumed by the overload. I couldn’t tell you what they played, but clearly the intent wasn’t so much to dazzle with individual songs or ideas so much as create a whole of such overwhelming push, and Anderson, Yarbrough and Sweat clearly had that working in their favor. Again, they seemed like a strange fit to hit the road with Volume IV, but they made a suitable closer for Eye of the Stoned Goat 4, giving the festival one final dose of ultra-heavy that nobody in their right mind would want to follow anyway. Their new album is probably finished being recorded at this point. One shutters to think of the devastation that awaits.
My ears were ringing fairly hard by the time I left Ralph’s. Sunday was an earlier night than Saturday had been anyway, and the last few bands had run short anyway, so it wasn’t yet midnight, but after running the full front-to-back of 20 bands over the two days, I’d hardly say I was up for more action than I got. The Masspike and news stories of Cinco de Mayo lime shortages carried me home and I’m not sure I’ve woken up since.
Thanks to Brendan Burns for his diligent efforts putting together The Eye of the Stoned Goat 4. Thanks as well to Derek and Jenn Bradshaw, Bill Kole, Ray Dickman, Jaki Cunha, Mark, everybody else who stuck it out for the weekend, and of course you for reading.
Posted in Whathaveyou on February 3rd, 2014 by H.P. Taskmaster
Though one hesitates to ever use the word “final” when it comes to a festival lineup, particularly when we’re still a few months out from the event taking place, The Eye of the Stoned Goat 4 looks pretty damn complete. Some recent upheaval in the lineup has brought in Lord Fowl as a replacement for Phantom Glue and Kings Destroy for Kingsnake, but things seem solid and ready to proceed otherwise. Should be a packed weekend May 3 and 4 at Ralph’s Rock Diner in Worcester, Mass., and it’s definitely one I’m looking forward to with a killer blend of bands local to New England and not.
Complete lineup as it stands today follows, along with the runtimes for each set. Feel free to dive in:
Snake Charmer Booking proudly presents: THE EYE OF THE STONED GOAT 4 Festival
Saturday, May 3rd – Sunday May 4th 2014
2 Days! 20 Bands! 20 Bucks!
Ralphs Rock Diner 148 Grove St. Worcester, MA 01605
Saturday, May 3rd 2014
Admission: $20 (ALL WEEKEND)
Line-Up and Set Times:
SIXTY WATT SHAMAN (The Reunion!!!) 12:20am-1:15am
CORTEZ (Boston, MA) 11:20pm-12:00am
KINGS DESTROY 10:25pm-11:05pm
SUMMONER (Boston, MA) 9:30pm-10:10pm
LORD FOWL (New Haven, CT) 8:45pm-9:15pm
BEELZEFUZZ (Church Within Records – Maryland) 8:00pm-8:30pm
SECOND GRAVE (Massachusetts) 7:15pm-7:45pm
JOHN WILKES BOOTH (Long Island, NY) 6:30pm-7:00pm
SET (Worcester, MA) 5:45pm-6:15pm
BIRCH HILL DAM (Fitchsburg, MA) 5:00pm-5:30pm
Sunday, May 4th 2014
Admission: $20 (ALL WEEKEND)
Line-Up and Set Times:
ORDER OF THE OWL (Atlanta, GA) 11:20pm-12:00am
THE SCIMITAR (Boston, MA) 10:20pm-11:00pm
CURSE THE SON (Connecticut) 9:25pm-10:05pm
VOLUME IV (Ripple Music – Atlanta, GA) 8:30pm-9:10pm
ICHABOD (Boston, MA) 7:45pm-8:15pm
ROZAMOV (Boston, MA) 7:00pm-7:30pm
NEON WARSHIP (Small Stone Records- Ohio) 6:15pm-6:45pm
Well, this is convenient. Now a two-day fest, the Eye of the Stoned Goat 4 is coming to Allston, MA, and is set for May 3-4 at O’Brien’s Pub. I think I can safely say this will be the least amount of driving I will have ever done to get to a festival. And while that’s not as appealing as the the fact that Sixty Watt Shaman are doing a reunion set or that I’ll have another chance to check out Beelzefuzz and Curse the Son along with native Boston acts like Summoner, The Scimitar, Cortez and Ichabod, the ease of commute is not to be overlooked. I don’t have a 2014 calendar yet, but once I get one, you can pretty much consider it marked.
Kudos to Brendan Burns, who’s also gearing up to present Stoner Hands of Doom XIII in Virginia next weekend. Check out the poster for the event and the preliminary announcement below. More to come:
***SNAKE CHARMER BOOKING ANNOUNCES ESG4!***
Saturday May 3rd- Sunday May 4th 2014 O’Briens Pub / Allston, MA
Tickets On Sale: Jan 1st 2014 9am.
THIS IS A LIMITED ENGAGEMENT, THIS EVENT WILL SELL OUT!!! More details as they develop!
Posted in Whathaveyou on September 23rd, 2013 by H.P. Taskmaster
An album that legitimately deserves to be heard by as much of its target audience as possible, Curse the Son‘s sophomore outing, Psychache(review here), has been brewing since this past winter in terms of actually getting a physical release. The Hamden, Connecticut, trio has busted its collective ass in an effort to give it a fitting home, and with the announcement today that STB Records will do a limited vinyl version of the album, it seems their work has finally paid off.
Remains to be seen when STB will release Psychache, and indeed whether or not the vinyl format can stand up to the formidable rumble the band brings to their sound, but for today, it’s good to see Curse the Son – guitarist/vocalist Ron Vanacore, bassist Cheech Weeden, and drummer Michael Petrucci – finding an outlet for what’s really one of the year’s most satisfying unabashed stoner doom records. STB previously released Doctor Doom‘s DoomO(review here) in a limited, glow-in-the-dark LP, and have worked with Dopethrone, Spelljammer, Druglord and others.
Says the label:
BIG NEWS!! STB Records and Curse The Son have joined forces to release the brand new record “Psychache”.. I can not be more please[d] and pumped to do this album for them!
Says the band:
All you folks that have been asking for vinyl……It is HAPPENING! STB Records is going to be putting out a limited edition of ‘Psychache’ on vinyl. More details to come soon.
That settles it. Good news from a cool band. Congrats to Curse the Son and here’s looking forward to the Psychacherelease date and where they go from there. For now, the album is still also available as a pay-what-you-want download through Bandcamp, so if you’re yet unacquainted, there’s time. Time which will inevitably slow down once you start listening.
Posted in Whathaveyou on July 24th, 2013 by H.P. Taskmaster
Whether or not you take the band’s advice on smoking “a fatty” before you listen, Curse the Son‘s second offering, Psychache (review here), is definitely worth the cranking that the free download they’ve made available is allowing for. The Hamden, Connecticut, trio are proving to be yet-unsung masters of tone, and even as they give Psychacheunto the ether that is the downloadable doomsphere, the really good news in their announcement below is that the three-piece — guitarist/vocalist Ron Vanacore, bassist Richard“Cheech” Weeden and drummer Michael Petrucci – have started working on a follow-up, which they’ll look to record in the fall.
Also fortunate is that the good tidings give me an excuse to revisit the album, which I’ve been wanting to do. Find the stream with the news below:
Curse the Son’s 2nd album “Psychache” is FINALLY available for HIGH quality digital download!
If you dug “Klonopain”, you are sure to love this batch of tunes.
Name your price, or if you’re broke…grab it for free, just make sure you share it with some buds. We still have some physical copies left if anyone is interested, as well as 1 sided T-Shirts and stickers.
We have begun work on our 3rd album and hope to begin recording in the fall.
Download it, smoke a fatty and CRANK IT!!! Enjoy……..
Posted in Features on November 9th, 2012 by H.P. Taskmaster
Hailing from the rarely-fuzzed outskirts of New Haven, Connecticut, boldly tone-centric trio Curse the Son tap into the primal appeal of heavy rock at its best: classic riffs, unpretentious presentation, weighted groove and obscure lyrics. Their second full-length is called Psychache (review here), and it’s a beast of thickened riffing, spaced-out vocals, feedback-drenched stonerisms and easter-egg rhythmic intricacies. Led by guitarist/vocalist Ron Vanacore – whose fuzz is consuming and whose vocals blend late-Sabbath Ozzy with the far-back ethereal style of YOB‘s Mike Scheidt — Curse the Son have quickly developed into a standout not only in the Connecticut scene — there isn’t one to speak of — but among genre traditionalists as a whole.
More to the point, Psychachedisplays a resounding development in terms of style and execution from its predecessor, early 2011’s Klonopain(review here). No doubt part of that is the inclusion of drummer Mike Petrucci (also King of Salem, Vestal Claret and the Blue Man Group), whose professionalism in the rhythm section alongside bassist Cheech has brought Curse the Son to a new level entirely, but even in terms of Vanacore‘s own performance, the songs of Psychacheoffer a more confident, solidified listen, whether it’s the long-held notes of “Spider Stole the Weed” or the melodies creeping into opener “Goodbye Henry Anslinger.” The growth may (and hopefully will) prove ongoing, but with Psychache, the Hamden three-piece have sent a clear signal that it’s underway.
In the interview that follows, Vanacore discusses writing and recording the album, bringing in Petrucci on drums, the health problems he experienced in his throat during the time of recording — science has proven time and again that granulomas are some nasty shit — his ongoing musical partnership with Cheech, with whom he played in Sufferghost as well, opening for Kyuss Lives at their Connecticut show, and much more. This is the second time I’ve interviewed Vanacore (first here), and it’s not a coincidence that after hearing Psychache, I hit him up with more questions about the band’s processes and goings on.
Can’t imagine it’ll be the last, either. After seeing them live last year at the Fuzzfest they organized and again at this year’s Stoner Hands of Doom, they’ve made a convincing case for their blend of doomed lurch and engrossing stoner heft. Vanacore’s tone in particular shines through as a defining element, but Cheech‘s running basslines and Petrucci‘s crisp timekeeping are no less essential to the overall impression, the three coming together in classic power trio style with a chemistry still formative but threatening in its potential all the same. In short, I think they’re a good band, and I wanted to give Psychachemore attention. So here we are.
You’ll find the complete Q&A with Vanacore after the jump. Please enjoy.
Posted in Reviews on September 14th, 2012 by H.P. Taskmaster
It’s been about a year and a half since Connecticut stoner doom trio Curse the Son released their first album, and clearly in that time, they’ve been through some changes. That full-length, Klonopain (review here) was a charmingly druggy exercise in riff-led doom, more engaging tonally than in terms of the songwriting, but still a solid showing from a band getting their feet. The upcoming self-released sophomore outing, Psychache, outclasses the debut on every level. I’ll reiterate because it’s worth reiterating that I enjoyed Klonopain a lot – I broke it out recently in advance of the band’s performance at Stoner Hands of Doom XII and found it had held up pretty well – but with Psychache, Curse the Son push themselves further creatively, performance-wise, production-wise and in terms of their songwriting. A notable change is the swapping out of drummer Charles Nicholas for Mike Petrucci (also of Vestal Claret, King of Salem and a percussionist for the touring incarnation of the Blue Man Group), who brings a crisp sense of professionalism that rests well in the pocket with bassist Cheech and guitarist/vocalist Ron Vanacore (both formerly of Sufferghost), while still also showing a subtle bit of technicality in complex fills and varied timekeeping. Petrucci is no stranger to plod, and in the lumbering riff in the post-chorus bridge of early highlight cut “Spider Stole the Weed,” the drums do more than just highlight the groove – there’s an active drive there – all three members of the band not so much following the riff as pushing it forward. Might be a subtle difference, but it goes a long way, and Vanacore’s vocals have also developed in confidence and range, so all around, Curse the Son emerge through these six tracks/31 minutes as a more mature, professional act. They remain very much of their genre – that is, Psychache is without a doubt a stoner doom album – but the band seems not only to acknowledge this, but to embrace it in a way that few of their peers are willing to do. For that, for Vanacore’s tone, and for the memorable choruses that work their way into several of these songs, Psychache is a brief but potent excursion that leaves its own footprints in well trod sonic paths.
About Vanacore’s tone: Partnered up with Connecticut’s Dunwich Amplifiers, the guitarist gets deep, Sunn-esque low end specifically crafted for the kind of music he’s playing. With Matamp-style richness, the riffs are carried across full in their sound. The production is clearly a step up from that of Klonopain, but it’s still comparatively rough. Nonetheless, the guitar dominates and the songs are all the more dynamic for it. Whether it’s the straight-ahead riff and thud of “Spider Stole the Weed” or the creepy beginning of opener “Goodbye Henry Anslinger,” they remain natural while also holding firm to a modern clarity. That stays true as “Goodbye Henry Anslinger” gets underway with an instrumental introduction that comprises the better part of its first two minutes in establishing the riff before Vanacore’s well-layered vocals kick in. A sense of next-levelism is palpable. In “Goodbye Henry Anslinger,” the riff is a hook, the verse is a hook and the chorus is a hook, and though the track is over six minutes long, it remains catchy for the duration and accessible, showing growth in Curse the Son’s songwriting to match their presentation. The lines “Feels like a revolution/It comes from underground” serve as a memorable chorus and are delivered with classically doomed inflection in a vast echo that’s all the more appropriate for the hugeness of the guitar and Cheech’s bass. Structurally, it’s a basic verse/chorus/bridge/verse/chorus once the vocals kick in, but the psychedelia worked into the break following the first chorus gives the album an immediately varied base to work from, offsetting the riffly chug while Petrucci works a little funk out of the following verse on the bell of his ride cymbal. It’s a strong opening, and the momentum continues with “Spider Stole the Weed,” which boasts another commanding plod and some forceful use of wah in the guitar and bass prior to stopping at around 2:30 and restarting with a faster, more active pulse.
Posted in Features on September 1st, 2012 by H.P. Taskmaster
It’s a gorgeous Saturday morning in East Lyme, Connecticut. Why wouldn’t there be traffic on I-95? Seven hundred gajillion TARP funbucks later, I sat in a miles long line of cars weaving into and out of two exceedingly busy lanes. Much to the chagrin of the dude from Massachusetts next to me with a boat towed off the back of his pickup, I was barely paying attention to my drifting. Some of the sternest looks I’ve had in at least a week.
I managed to sneak in a quick to-go breakfast with The Patient Mrs., who is in the area, and then basically came right here. It’s about 10 to noon now, and I don’t know what time Akris is going to start — they’re setting up now — but when they do, it’ll be the launch of day three of Stoner Hands of Doom XII and the first of two massive all-day shows here at the El ‘n’ Gee in New London.
No doubt it’s going to be a long day, but hell, I’m here. I’ve got a deli sandwich in a cooler in the trunk of my car for later, and enough earplugs to last a month. My plan is basically to do the same as I did yesterday — but, you know, twice as much of it — with updates as the day goes on. Hopefully you enjoy keeping up as much as I do.
SHoD XII day three begins in just a bit. More to come.
UPDATE 12:46PM: Hope you like bass. Akris, the Virginian duo of bassist/vocalist Helena Goldberg and drummer Sam Lohman, fluidly blend thrash, doom and noise, but are also able to dive quickly into runs of progressive technicality. Goldberg played through three heads — Sunn Concert Master and Slave and an Earth Super Bass Producer — and should go without saying was assaultingly, feel-it-in-your-chest loud, and Lohman had his own kit set up toward the front of the stage and off to the site, turned sideways. If I wasn’t awake yet, Akris were loud enough to get the job done, but as overwhelming as it was in terms of volume, the tone wasn’t muddy. The vocals cut through the low end (duh) and I’m not sure whether Lohman‘s drums were actually coming through the P.A. or not — they were mic’ed up, but he looked to be crashing down hard enough to be heard down the street, so who knows — but there was no trouble hearing him either, and even when Goldberg was at her loudest and most raging, everything came through distinct. Their demo was cool and hopefully it’s not too long before they follow it up with either a full-length or an EP. I’d be interested to hear how the dynamic between them came across over the course of a whole album. In the meantime, they were a shot of energy to start the day. Much needed and much appreciated.
UPDATE 1:44PM: From the wilderness of New Hampshire, double-guitar doomly foursome Eerie were quick to align themselves with the extreme. In look and attitude, I half expected the band to bust out throat-ripping screams and searing blasts. Didn’t happen, but they weren’t lacking for grimness besides. Instead, they doomed out a wall of riffs and varied abrasive and clean vocals, relying on steady undulating riffs, not unfamiliar, but hard to place directly somewhere between Cathedral and the semi-psych tonality of earliest Zoroaster. One of the guitarists broke a string early into the set, but if it really affected the sound, I wouldn’t know it. The two guitars played well off each other, and if the broken string did anything, it was force him into a higher register and into starker contrast with his fellow six-stringer. They have a record that I’ll hope to pick up and check out further, but it’s high time New Hampshire’s untamed forests spawned a unit as dark as Eerie — who might need to take a different name for how well it actually describes them. They seemed to have common cause with Statis, who are on next, but what the alliance might be, I don’t know. Either way, if Akris were the stoner hands, Eerie were the doom. Doom like “we only use our first initials” kind of doom.
UPDATE 2:27PM: Well, mystery solved. Stasis‘ drummer — listed on their Thee Facebooks as the mysterious “TBA” — was the same dude who played guitar and handled vocals in Eerie. See? I know it’s precisely that kind of investigative reporting that keeps you coming back to The Obelisk. Anyway, a trio from Portland, Maine — where Revelation and Ogre will doom this very evening — they were more on the sludge end than Eerie before them, but while guitarist/vocalist Michael Leonard Maiewski wasn’t including the same kinds of Euro-doom derived ambient parts, there was still a decent cut of drama in what they were doing. Bassist Mindy Kern had a Warlock or some such bass — many interestingly shaped instruments this weekend — and I don’t know to say for sure, but I think the sound guy working the board here at the El ‘n’ Gee is about ready to hang it up and go get a real estate license. It’s a universal fallback plan. So far, the three bands that have played have been so loud that by the time Stasis were halfway through, he’d left, perhaps in pursuit of lunch, I don’t know for sure. Would require some more of that investigating. I’ll get with the budget office and see if we can swing it. Stasis threw down a little mud, but the wash of low end was obviously intended. Wouldn’t be sludge if it wasn’t dirty.
Curse the Son
UPDATE 3:20PM: Beardbanging all the while, guitarist/vocalist Ron Vanacore led Hamden, CT, trio Curse the Son down a long trail of smoke to the riff-filled land. Playing through a righteous custom Dunwich amp — they make ‘em pretty — Vanacore’s riffly plod was second to none I’ve heard so far over the course of this year’s SHoD, and with the rhythm section of bassist Cheech and drummer Mike Petrucci stomping away, the band gave a strong herald for their upcoming Psych-achefull-length. Most of what they played seemed new, but I did recognize a tune or two from the prior Klonopain(review here) long-player, but really, old material or new, it’s all about the riffs, and Curse the Son has that down. I’d like to see Vanacore (who’s fighting a sinus infection but didn’t let on on stage) in a beard-off with Ben McGuire from Black Cowgirl, who play later, but in the meantime, Kin of Ettins is on next, having come all the way from Texas for the show. Curse the Son gave them a good lead-in and the crowd seems to be right on board. There’s been a lot to dig about today so far, though it’s hard to believe we’re only four bands into the day.
Kin of Ettins
UPDATE 4:22PM: In a dark venue such as this, it’s kind of easy to lose track of time. Whenever someone opens a door to outside and the sunlight comes in, I’m surprised. It’s still daylight out. It’s four in the friggin’ afternoon. Obviously no one told doomly Dallas four-piece Kin of Ettins that. They rocked like it was well after 11PM, proffering a doom that wouldn’t have been at all out of place on Hellhound Records in the mid-’90s and delivering it with just a hint of Texan swagger and inflection. Bechapeaued guitarist/vocalist Jotun (above) made mention in thanking Rob Levey for putting this together that he and bassist Donar were at the first SHoD in 2001 in Dallas. Must be quite a trip 11 years later to play it in New England, but they did well, and with one hand, guitarist Teiwaz ripped into impressive leads, overcoming some early technical difficulties and making a song like “Snake Den Time,” the title-track of a reportedly coming full-length, a standout. They saved the best for last, however, with the cut “Echoes in the Deep,” which also ended the set on their Doomed in Dallas live EP (review here). Awesome to have them represent the fertile Texas scene at Stoner Hands of Doom, and I’m glad I got to see it.
UPDATE 5:13PM: It’s only been about a month since I saw Black Cowgirl in Philly with The Company Band, so they were pretty fresh in my consciousness, as much as anything is at this point. In that time, however, their self-titled full-length (comprised of two prior EPs put together) has seen its CD release, so they haven’t exactly been sitting still. They were much as they were at the Underground Arts, maybe drummer Mark Hanna was a little less inclined to stand up behind his kit, but beyond that, the two guitars of Ben McGuire and Nate Rosenzweig still worked well together and bassist Chris Casse held down the grooves ably without being overly showy. Someone put themselves in the spot in the bar area where I had been setting up the laptop, so I moved outside, and it’s apparently a pretty fantastic day out. Not quite enough to make me regret spending the whole thing inside the dark club, but still. The thing that stands out most about Black Cowgirl‘s set is the dynamics within the band’s approach. The performances were spot on, but even more than that, their songwriting is strong and varied and their ability to convey that in a live setting like this makes them that much stronger a band.
UPDATE: 6:12PM: Wonderfully monikered Maryland classic doom trio Beelzefuzz just wrapped their set with a cover of Lucifer’s Friend‘s “Ride in the Sky.” A pretty bold choice, given that Trouble did the same tune and The Skull is playing later tonight, but I’ll be damned if they didn’t pull it off, guitarist/vocalist Dana using his pedal board as much for his vocals as for his guitar. And I do mean “vocals,” plural. At several points in the set, he was doing live double-tracking, clicking on to add another of his voice and then clicking off. He got jumbled up doing it, but it was impressive nonetheless, as was his voice in general. Though I dug their demo, I’d only ever seen Beelzefuzz for two songs at Days of the Doomed II back in June, so a full set was welcome. Following the energy of Black Cowgirl, they were a calmer stage presence, but tight performance-wise, and usually if it’s going to be one or the other, I’ll take that. Dana‘s guitar magically became a Hammond organ at several intervals and that was awesome as well. The Maryland contingent — a big part of SHoD for the last couple years — will have further representation from Admiral Browning in a few hours, but Beelzefuzz were a welcome dash of Krug’s Place in the meantime, making me a little wistful for Frederick. New London’s been alright in the meantime, though.
One Inch Giant
UPDATE 7:14PM: This was the last stop on Swedish rockers One Inch Giant‘s US tour. I saw the first one earlier this week in Brooklyn. Pretty awesome of an underground band, relatively unknown, to get over here and do a week of shows like that. Unlike in Brooklyn, I watched their whole set this time around, though it seems I’d seen more of it than I thought last time. They sent out a building jam to the ladies, hit the blastbeats again — frontman Filip Åstrand warning the crowd beforehand by saying, “I know you like them slow, but this one’s fast” — and gave a solid, energetic showing of their straightforward European-style heavy rock. I couldn’t help but wonder if Åstrand washed his Morbid Angel shirt between the two shows, but as I couldn’t smell him while was taking pictures, I figure probably there was laundry done at some point during the week. Their stuff was straight ahead catchy, and I think maybe some of the ideas got lost in translation between the Euro and US markets, but for both the fact that they’re here and for what they actually did while they were on stage, it was more than respectable.
UPDATE 8:11PM: As good as some of the doom I’ve seen over the last couple days has been, I don’t know if anything tops Rochester, New York’s Orodruin. They haven’t put out an album since 2003’s Epicurean Mass, but here as at Days of the Doomed, they came on and promptly blew the crowd away. John Gallo doesn’t so much play riffs as he conjures them, summoning them from his guitar in some kind of doomly ceremonial rite. The band played as a four-piece tonight, with second guitarist (and if I’m wrong on the name, please correct me) Nick Tydelski joining the melee alongside bassist/vocalist Mike Puleo and drummer Mike Waske. As a four-piece, they were no less potent than as a trio, and they had what I think was the biggest crowd of the fest so far. I didn’t count heads or anything, but all the people I’ve seen milling about the El ‘n’ Gee today finally seemed to all be in the same place at the same time. Good reason, as Orodruin are hands down one of the best traditional doom acts I’ve ever encountered live, breathing new life into what in most hands is a genre based in no small part on retread. Not knocking that, just saying that these guys have something special. Their In Doomdemo/EP is here and on sale. I bought one in Wisconsin, but I’m almost tempted to pick up another, just to have it. Fucking a.
UPDATE: 9:10PM: Anything strike you as a little strange about the picture above of Ron “Fez” McGinnis of Maryland progressive noisemakers Admiral Browning. He’s singing! When their set first started, I said to myself, “Now why the hell would they leave a microphone on stage?” thinking maybe it was just so guitarist Matt LeGrow could say thanks or something, but then Fez had one too, and sure enough, vocals. Not just vocals though, harmonies too. Either these dudes just discovered they could do that stuff or they’ve been holding out. I’d always kind of thought of Admiral Browning‘s tech-minded approach as being too complicated as to allow for structuring into verses, but it worked and it worked well. They still had plenty of instrumental material on offer, but they’ve put themselves into a different echelon entirely by adding singing, all the more so for actually being able to pull it off. And of course, as LeGrow and McGinnis were belting out the songs, drummer Tim Otis was running a marathon across his kit behind them. Legitimately, I’d be surprised if he covered any less than 26.2 miles. They paid homage to Buddy Rich with “Traps” and, after a story of how they ran into Geraldo Rivera in Coney Island earlier today, shouted out “La Araña Lobo” in his mustachioed honor. My plan had been to run out to the car and grab my long-awaited turkey sandwich from the cooler in my trunk, but Admiral Browning kept me right in here. That might not sound like high praise, but there isn’t much that beats “turkey sandwich” in my book. Kudos, gentlemen.
UPDATE 10:10PM: Chicago’s Earthen Grave went sans violin for their set. I seem to recall Rachel Barton Pine, who usually handles that instrument, being either pregnant or recently a mother, and either way, I’d expect that to account for her absence from SHoD. It’s a valid enough excuse. The show went on, as I’m told the show must, and Earthen Grave delivered a crunchier-seeming set of traditional doom and metal. Vocalist Mark Weiner has hit himself in the head on purpose both times I’ve seen the band — here and at Days of the Doomed II — and so I guess he’s just that crazy. He had on a Church of Misery shirt and was happy to show it off along with his formidable pipes, but bassist Ron Holzner has “used to be in Trouble” on his side, and that’s always an attention-getter. The band was pretty crisp, even for lacking their violin, and the assembled heads dug in wholeheartedly as they kicked into a new song, the title of which I didn’t get. Good to know they have new stuff in the works though. I did run out and grab that turkey sandwich, eating half as I sat on the lip of the open trunk of my car — a doomer tailgate party of one — but when I came back, Earthen Grave made me think perhaps I should revisit their self-titled full-length, and covered Pentagram‘s “Relentless,” which is a bit of a coincidence, since that band is about to go on stage in Brooklyn playing that album in its entirety. Go figure.
Devil to Pay
UPDATE 11:12PM: No coincidence that Devil to Pay guitarist/vocalist Steve Janiak was representing the Ripple Music logo, as it was recently announced the Indianapolis four-piece had signed to that label for the release of their new album. Janiak said on stage that the record is due out in January — it’ll be their first since 2009’s Heavily Ever After– and they played a few songs from it, including the gloomy highlight “Yes, Master.” Devil to Pay are always pretty humble on stage, but they’re pretty clearly riding a high. They seemed confident and assured in their sound, guitarist Rob Hough breaking out the weekend’s first and only (to date) windmill headbang, and Janiak‘s tenure in the doomier Apostle of Solitude has brought a new dynamic to his vocals, which had a kind of post-Alice in Chains grunge feel. I had been looking forward to the new album already, but it’s good to have some affirmation for the anticipation. The night is starting to wind down, and with Pale Divine and The Skull still to go, things are about to get awfully doomed around here, but Devil to Pay‘s heavy rock was a great balance between the stoner and the doom, and Janiak is beginning to emerge as a genuine frontman presence. Cool to watch.
UPDATE 12:14AM: The funny thing about watching Pale Divine‘s set tonight was that for most of the contingent up front to see the band, they were local, like well-known, like married-to-them local. For me, seeing Pale Divine, who hail from Pennsylvania, is something exotic, something that doesn’t happen every day. It had me thinking about the bands that I feel that way about — Jersey acts like The Atomic Bitchwax or even a Long Island band like Negative Reaction — who I take for granted. My moment’s pondering didn’t last much longer than that, however, because I was astonished to see Fezzy from Admiral Browning was playing bass alongside guitarist/vocalist and band founder Greg Diener and drummer Darin McCloskey, who also played with Beelzefuzz tonight. Fez was a little punchy on the bass, but that dude’s the kind of player that could pretty much fit in anywhere so long as it’s heavy, and it was cool to see him in a more traditionally riffy context, playing off Diener‘s Wino-inspired riffs. A highlight was “Amplified,” the opening track of their first album, Thunder Perfect Mind, and when the whole thing was done, I won the Stoner Hands of Doom raffle! More on that later, as The Skull is about to go on.
UPDATE 1:40AM: You know what the difference is between The Skull and your Trouble cover band? First of all, you don’t have a Trouble cover band, but even if you did, chances are it wouldn’t have Ron Holzner playing bass in it or Eric Wagner singing, and as someone who saw Trouble proper on their tour with Kory Clarke fronting them, I can say first hand that that makes a big fucking difference. Seems frivolous to say “Psalm 9″ and “Bastards Will Pay” were high points — the whole set was a high point. Together with guitarists and a drummer culled from Chicago metallers Sacred Dawn, Wagner and Holzner ran through a set of classics that seemed utterly antithetical to the late hour. They killed, and the people that stuck around ate it up. Nobody even spoke in between songs. Everyone just stood there and waited to see what was coming next? How about “Revelation (Life and Death)?” Well, yeah, okay, right on. I guess the big difference between tonight and when I saw The Skull at Days of the Doomed is I’m not miserable piss drunk tonight, so I’ve got that working for me. When their set was finished, Wagner said he’d keep going if someone bought him a beer, so beer was acquired and they wound up closing with “At the End of My Daze,” which was incredible of course. The bar called a “get the fuck out” last call after they were actually done, so I’m writing this in the car in the parking lot outside, about to drive back to where I’ll crash out and get up tomorrow for the final day of Stoner Hands of Doom. Tonight was unreal.
Posted in Reviews on June 8th, 2011 by H.P. Taskmaster
By the time I had eyes to see the above wisdom scrawled on the wall next to the urinal at Cherry Street Station in Wallingford, Connecticut, I was already several Newcastles into the night. The last time I was at the venue was for a show with A Thousand Knives of Fire, Bloodcow and others, and that was years ago, but not much had changed. Bands still set up in the corner of the main room, the bar was up a couple steps and there was a patio outside for the smokers. Hockey was on the big screen and beer was cheap. I had arrived early — a fruitless stop at Redscroll Records preceded — and immediately set about chipping away at the cash in my wallet. When in doubt: drink.
I had a good hour to do so, and Newcastle goes down like candy, so the cash and the beer were both going quick by the time Stone Titan started up. Fuzz Fest — a collection of local Connecticut acts put together by Ron Vanacore of Curse the Son (who played third) — didn’t actually feature all that much fuzz. With a name like that, you’d expect six or seven Fu Manchu clones on the bill, but instead, the lineup culled acts from different prongs of the doom umbrella, starting with Stone Titan‘s heavy sonic debt to the riffs of Jimmy Bower. They were so young I wondered if they’d have been allowed at the show if they weren’t playing it, but honest about where they came from; an Eyehategod cover went a long way in transitioning them in my mind from “derivative” to “charming.”
Either way, their collective heart was in the right place, and theirs was the start of a night of several impressive covers. The Connecticut scene, if nothing else, has good taste. King of Salem, who played second, covered “Swinging the Chain” from Black Sabbath‘s Never Say Die, and that sat well alongside their straightforward heavy rock. Guitarist/vocalist Simon Tuozzoli and drummer Mike Petrucci were joined by a bassist (who, if I’m not mistaken, had the night’s only five-string; one too many) and guitarist who looked imported directly from another band.
I was a fan of King of Salem‘s Prophecyway back when I reviewed it, so it was cool to hear some of that material live, and while it was abundantly clear that Tuozzoli and Petrucci were the core of the band, the other half, situated on the right side of the stage area, did well with their parts, the guitarist adding solos to Tuozzoli‘s riffs that were both fluid and accomplished. It was a strange set, but a good one, and an excellent transition point between Stone Titan and Vanacore‘s own outfit, who occupied the center position on the bill.
After hearing their Klonopain full-length, I suspected that the disc, while enough to give an overall impression of their sound (and a favorable one), didn’t do the band full justice, and their live show proved that assertion correct. Petrucci was pulling double-duty, drumming for Curse the Son as well as King of Salem, and he’d reportedly only practiced with Vanacore and bassist Cheech once, two days earlier, but you wouldn’t have known it watching the trio play. He adapted to the songs excellently, and Vanacore‘s tone, which came out of two green cabinets and a green head with “WEED” where “Green” might otherwise have been, was among the highlights of the night.
As the driving force behind the show, their crowd was the biggest. The way the P.A. speakers were set up, it made the stage area look small, but it was actually deep enough so that most of the equipment was backlined, and the high ceiling in the room made it so Curse the Son were able to pull off a loud, full sound, which they did, expressing a clear love for the riffy arts. Admirable enough that Vanacore got the show together in the first place, but doubly so that Curse the Son didn’t then headline or screw anyone into a shitty timeslot. It was a well-constructed evening and good to see everyone getting into the bands. Going to shows in New York, it’s easy to get lost sometimes in how much of a social obligation it is. For me at least, as an outsider up for the weekend, it was refreshing to have it be just about the music.
And just when I was most feeling that after Curse the Son‘s set, there came Lord Fowl. It’s not really doing them justice to call them the “find of the night,” because I’d heard three of the total five bands before, but they fucking destroyed, either way. A double-guitar/double-vocal four-piece from just south on I-91 in New Haven, they powered through a set that included the best cover of Thin Lizzy‘s “The Boys are Back in Town” that I’ve ever heard — and I’ve heard a few — and hands down the night’s highest rock quotient. Their set had that same feeling you get watching Roadsaw or one of those really killer Small Stone acts rip it up, where you just know this is how rock and roll should be done and the bullshit factor is nil.
They had a CD for sale, which I bought, and if there’d been others, I’d have gotten them too. The night had already been a winner, but Lord Fowl absolutely made it, and when they finished, I immediately commenced nerding out about how righteously good they were. I haven’t listened to the disc yet only for lack of time, but I’ll get there for sure, as I want to hear if they’ll be able to translate their live energy to an album. Here’s hoping.
Post-that, anything was going to be a comedown, but Sea of Bones closed out the night in front of a wall of amplifiers (the drums, also huge) and emitted the kind of volume that rendered earplugs all but useless. Seriously, I could feel them vibrating in my ears. The levels on their three mics — one for each member of the band — were off, but honestly, with that much noise coming from the cabs, I don’t think anything would have helped. You could’ve blown out the P.A. three times over and still not heard the screams of drummer Kevin, guitarist Tom or bassist Gary (all first names only). Easy to blame the sound guy for that, but even he could only do so much to stem their massive tonality.
My last beer was gone by the time they started playing, and it had been my intention to split a couple songs in, but Sea of Bones held my attention and feet in place. If you’ve never heard them, their ultra-doom borders on post-metal at times, but is mostly angrier and less intellectually pretentious than much of that genre. If they toured, you wouldn’t need my recommendation to check them out, because they’d already be huger even than Tom‘s pedal board. What they had in common with the rest of the acts in the Fuzz Fest lineup, though was a readily evident passion for what they were doing.
And if you’re going to book a show of local acts and try and foster a developing scene, that’s how you do it: by loving what you do and showing that to others. Kudos to Vanacore on picking the lineup he did (the shout-out in my direction from the stage was unnecessary, but also appreciated), since they may have all come from different ends of the genre, but there was an undercurrent that bound them all the same. When I left, it was too late for me to call my mother as per the advice of the men’s room wall, but I was comfortable anyway in knowing my time had been well spent.
New Haven, Connecticut, purveyors Curse the Son got their start a few months after the untimely end of guitarist/vocalist Ron Vanacore‘s prior outfit, Sufferghost. Sufferghost guitarist Tony Buhagiar was inflicted with a burst aortic aneurysm in 2007, and though he survived, that was more or less the end of the band. Together with bassist Cheech and drummer Rich Lemley, Curse the Son is now among the brighter hopes for doom in the Land of Steady Habits. The trio self-released their first full-length, Klonopain, late last year and are actively trying to ignite the Connecticut scene, playing host to the inaugural CT Fuzzfest on June 4 at Cherry St. Station in Wallingford.
It’s a formidable lineup joining Curse the Son on the CT Fuzzfest bill (you can see it below; all that’s missing is When the Deadbolt Breaks to bring in some ultra-doomed atmosphere), and I wanted to get a sense from Vanacore about what his hopes were for Curse the Son and the scene as a whole. Klonopain draws influence from a host of thick-riff purveyors, and aside from an understanding of the timeline between moving from Sufferghost to this project, I was hoping to find out what was driving Vanacore stylistically and in terms of keeping Curse the Son its own entity musically.
The guitarist was happy to cooperate, and I’m proud to say that of all the email interviews ever conducted for this site (and that’s plenty), this is the first one to have ever been done via private messages back and forth on the forum. I don’t know how you feel about that, but I think it’s awesome.
So thanks to Vanacore for taking part and please enjoy the following Six Dumb Questions:
1. After Sufferghost ended, how did you decide to start over again with Curse the Son? Are you still in touch with Tony? What’s his current condition?
It was not a decision that came easy. When Sufferghost ended, I was so devastated that I just stopped playing music altogether. You see Tony and I have a really cool relationship. There is this unbelievable chemistry between us. There were never any disagreements…we genuinely love and respect each other’s riffs, lyrics and ideas. I’ve never been in a situation like that where two guys are literally in the same head space all the time… It was incredible!
But when it ended so suddenly, it was a shock to the system. I couldn’t even go into the band room anymore, it was to depressing knowing it was over. I think it was about six months later, Tony and I were talking and he told me that I needed to play again. That is when I began writing material for Curse the Son.
As far as my relationship with Tony now, we talk all the time. He moved back to his hometown of Hayward, California, a couple years back. After a lot of hard work, he is back playing guitar again! His new band is called Tuco Ramirez and they rule. Good old ‘70s style hard rock. It makes me so happy to know he is playing again, I miss him dearly and hope that one day he returns to the East Coast so we can pick up where we left off.
2. What are some of the differences stylistically between Curse the Son and Sufferghost? Is there anything specific you wanted to do differently in this new band?
Stylistically, I view Curse the Son as a flip of the Sufferghost style. With Sufferghost it was classic stoner with doom accents. The Curse the Son sound is much doomier without losing the sense of melody and cohesion Sufferghost had.
Tony is a much better guitar player than I could ever hope to be. The dude has the chops. I am a much more rhythm based guitar player. So I play to my strengths… the riffs and the groove.
3. Has your songwriting process changed at all with the switch? How do you come up with riffs, and how do the songs come together from there?
The very first time me and Tony jammed I recorded it. It was such a good jam that we ended up with all the riffs for three out of the four songs on our Leave the Church EP! Most of our tunes came from jamming.
The process changed dramatically as Curse the Son began. It was me and my 8-track. Get stoned and write riffs for hours. Then hash out the quality ideas and start putting the song together. It was an abstract process but I’m pretty fortunate that I have the ability to hear a “finished song” way before it’s actually finished.
Initially there was no band, it was just my vision. I had no idea what I was going to do with the music. I just wanted to create something that was crushingly heavy and would honor my friend.
4. Tell me about recording the songs for the full-length. How do the album versions of the tracks that were originally on the EP compare to the originals?
The basic tracks for our CD Klonopain were recorded live. Just the three of us in the same room vibing off each other. It was a very cool, stress free experience. We recorded it at Underground Sound here in Connecticut. The owner Chris DelVecchio, is a good friend of mine and he gave me free rein over the place. We started recording on a nice sunny day in mid-May 2010, and didn’t wrap it up until December! I took my time with it because I could. Klonopain is the first record I’ve ever been a part of where I am 100 percent happy with everything about it.
As far as the Globus Hystericus EP goes, you have to remember that I recorded all the instruments myself. The intention was to have a product that I could use to promote the Curse the Son name and sound. Soon after its release I started to look for likeminded musicians to play with.
It was Cheech (bass) and Rich (drums)’s idea to rerecord those four songs. I was hesitant at first, but I’m really glad we did it because the new versions just bury those EP tracks, no question.
5. I know about the Redscroll Records store and Cherry St. Station in Wallingford and a couple other places around, but is there a Connecticut scene at this point? Are there other bands you especially enjoy playing with, or is everyone up in Massachusetts?
There is actually something starting to happen again in the New Haven scene. Mostly this is due to a couple friends of mine, Opus (Dead by Wednesday) and Eric Morton (Big E Promotions) who have been booking metal nights at places like Cherry St. Station in Wallingford and Bix’s Cafe in Branford. Toad’s Place has turned a blind eye towards metal for the most part, which sucks. The CT scene is weird, it comes and goes every 5-10 years or so.
Most of the bands we play with are very different from us, but we seem to fit in on any bill and we usually stand out which is always cool. I didn’t think there were any other stoner/doomy type bands around here but I was wrong!! They are just spread out all over the place and have never unified. I am hoping to give that a boost with CT Fuzzfest 2011 which takes place at Cherry St. Station on June 4. As far as I know there has never been any type of show featuring all bands like us here. I hope it gives the whole genre a kickstart around here. It’s time for Connecticut to get on board!
The lineup for the gig is: Sea of Bones
Curse the Son
King of Salem
6. What’s next for you guys? Any plans for shows around or outside of Connecticut or more recording before the end of the year?
The next step is to begin writing for the next release. I have a bunch of riffs ready to go, and look forward to jammin’ with the fellas.
We would love to play out of state, if we can find the right gigs, right bands and the right venues. Touring is probably not a reality as of now, but if the right opportunity came, hell yeah!
I hope to get the band back in the studio by late fall and have the next CD out in early 2012.
Thanks to your readers who have responded with such excitement and purchased the CD. To purchase Klonopain, it is $5 shipped (US) $10 (UK). Core9@netscape.net is our contact email and Paypal address.
Posted in Reviews on February 23rd, 2011 by H.P. Taskmaster
Comprised of two-thirds of the now-defunct stoner outfit Sufferghost, Hamden, Connecticut riffers Curse the Son emerge with the first full-length since their 2007 inception, the self-released Klonopain. It’s an album almost entirely unabashed in its influences, proudly flying the backpatches of Sabbath, Sleep, Trouble and Goatsnake in its seven component tracks, the vocals of guitarist Ron Vanacore fitting right in line with the heavier end of slow stoner/doom rock. Curse the Son, more or less in a wasteland as regards their local scene, maximize their tonal heft in Vanacore’s guitars and the bass of Cheech (no, it’s not thatCheech), as if making up for what other bands might also have on offer, while also keeping a more or less straightforward approach to the style that should be familiar to those experienced in the ways of the heavy underground. In many ways, Curse the Son is a scene band without the scene. All the more respectable then, for them to stand alone and not compromise on what they want to be musically.
And judging by the material on Klonopain – four tracks of which appeared on Curse the Son’s 2009 Globus Hystericus EP in previously-recorded versions – what they want to be musically is slow. To their credit, even when they’re not playing slow, on parts of “Anullus of Zin” or opener “Unbearable Doer of Wrong,” they sound like they are. Vanacore’s guitar tone is essential to this, as he takes a heavily-fedback solo on the opening cut, offsetting some of the Goatsnake-ery in the central riff, but still keeping that molasses-boogie feel. Drummer Rich Lemley does well with the tempo changes the riffs present, but isn’t a flashy player by any stretch or as present in the mix cymbal-wise as he might be on other records in this style. No doubt, Klonopain is led by the guitar and mixed in a way that heavily favors it, but for weedian riff metal, that’s more or less par for the course. Vanacore’s vocals – entirely clean and in the Sabotage-era Ozzy tradition – offer enough change throughout to stave off monotony, patterning themselves on “Y?” in a way that reminds of what Floor did so well and only recently got credit for: blending semi-melodic vocal accessibility with balls-heavy doom guitar, while also leaving room to kick into ultra-Sabbath mode toward the end, launching with a suitable “Right!”